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Grateful Dead Live at University Of Iowa Fieldhouse on 1982-08-10

Set 1

Feel Like A Stranger
Friend Of The Devil
New Minglewood Blues
Tennessee Jed
It Must Have Been The Roses
On The Road Again ->
Beat It On Down The Line
Stagger Lee
I Need A Miracle ->

Set 2

China Cat Sunflower ->
I Know You Rider
Lost Sailor ->
Saint Of Circumstance ->
Eyes Of The World ->
Drums ->
Space ->
Iko Iko ->
Truckin' ->
Stella Blue ->
Sugar Magnolia

It's All Over Now, Baby Blue ->
Johnny B. Goode

Collection GratefulDead
Band/Artist Grateful Dead
Date August 10, 1982
Venue University Of Iowa Fieldhouse
Location Iowa City, IA

Source About 50%AUD/50%SBD
Transferred by Matrix by Hunter Seamons


MATRIX MIX: About 50%AUD/50%SBD (Both sources are about about equal in sound levels. Neither source was made higher or lower than the other. I find this ratio to rarely work, which is why these sources may have been ideal for matrixing.)


AKG CE-1 (4th row) > UHER CR-240 > Playback on Nak Dragon > Sony R700 DAT deck (sbm-on) - used only as A>D converter (44.1khz) > ZA2 > CDR (x2) > EAC > FLAC (tracking with CDWAV)
Taped by Kenny Mance. EAC to FLAC by cbass 2/25/07


SBD -> Cm -> Dat -> Samplitude 2496 v6.0 -> CD -> EAC -> SHN
Transfers all done by Charlie Miller


Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>WAV>FLAC)
7/25/07 Remastered 06/01/08

1) The AUD speed was increased on average by 1% to match the soundboard.

2) There are occasional gaps in both the AUD and SBD, so there will be instances where only one source is playing. The SBD has more cuts in it, particularly between songs.

3) The Low Gain of the SBD was increased by 3 dB.

4) The transition between disc 2 and 3 is seamless.

5) For mysterious purposes only, an echo effect was added to the 30 second bit of noodling before I Need a Miracle.

6) The results of this matrix are pretty darn good - enjoy this amazing Iowa Dead!

Remastering Notes (06/01/08):

1) Portions of all songs were re-synced, except On the Road Again, Beat It On Down The Line, I Need A Miracle, and Johnny B. Goode. Big, BIG upgrade.

2) The AUD patch in the AUD source during Sugar Magnolia was removed.


Reviewer: njpg - - August 28, 2014
Subject: -
Yeah, crazy setlist, but sloppy show.
Reviewer: maslim - - February 29, 2012
Subject: AHH!
How do I download this???
Reviewer: headless deadhead - - March 21, 2011
Subject: great mix
having a new love affair with some of the matrix recordings popping up on the archive - thanks to everyone responsible for keeping this music very much alive
Reviewer: Stellablu122 - - April 16, 2009
Subject: Listen to this show..Now!
I have a much longer review on the other SB source, this show is one of the best of the best.The entire band is just so on and Jerry is so extremly on. I mean he hits every note he thinks of and his phasing is incredible. It is a remarkable performance. The first set is almost 80 minutes long and has plenty of upbeat tunes and the opener is killer as is the set closer, which is smokin'!
Set two is huge with a extended China>Rider which sits up with the best of the modern versions. It features one of the best fast tempo Eyes out there. The rest of the show is high caliber with an rollicking Aiko out of space to set the pace to the finish line. The set ending Sugar Magnolia is rockin, with Phil dropping uge bombs, is followed by a wonderful double encore.
The entire band clearly enjoys this magical night of music.
This matrix may be one of the best on the Archive, you feel like you are sitting, or rather dancing, right in front of the sound board.
Absolutely perfect
Reviewer: hseamons - - November 12, 2008
Subject: Thanks MVotter

Your remarks really make me happy that I went back and re-synced songs like Roses on this matrix. Funny how that has the "technical difficulties" in the the channels, but it still sounds great. Ahh, my first (revised) matrix is still in my top 5 - more like top 3 - in terms of sound. You can see why the sound on this only compelled me to do more of these little ditties.
Reviewer: MVotter - - November 11, 2008
Subject: Well, stunning ...
Dear Mr. Seamons (and anyone else who had a hand in the eventual finished product):

This is a terrific offering. This rendition and clear recording of "Roses" is OUTSTANDING! The matrix blending of board and audience gives this recording a clarity and depth which affords the listener an almost "surround sound" feel to this show.

I will suggest to anyone who wants to experience the full effect to put in the earbuds and listen to "Roses" just once. It is splendid ... Jerry's voice is cool, clear and crisp ... as well as the tightness of the harmonies rendered on this version ... quite possibly as gorgeous a capturing of this tune as I've ever heard from a live, non-commercial product.

I am a huge fan of this era "Roses"... the tempo, the "cowboy/country" groove ... WOW! Thanks so much for posting, Hunter. Bravo, as always!

MV Otter
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Uploaded by
Matthew Vernon
on 6/10/2008
Grateful Dead
by Grateful Dead
Source: DTS-Audio-CD 5.1 Mix; SBD (shnid=11362) Unknown Gen Cassette>CD; Benefit for Vietnam Veterans with guests; See info file for details; Seeded to etree by Jim Skinner + AUD1 (shn id 87547) 2nd Gen Cassette; Sennheiser 441s > Sony D5 Taper: unknown
Grateful Dead
by Grateful Dead
Source: DTS-Audio-CD 5.1 Mix; SBD (shnid=183) SBD> master reel> cassette> Dat >HD> shn; transfer by T. Wul + AUD (shn id 126070) source: aud cassette master; taped by Jim Cooper; sony ecm22p's > hitachi trq-222; nak dragon > benchmark adc1 24/96 > adobe audition cs6 16/44.1 > flac; transfer & seed - Rob Berger - DTS mixing by Kevin Tobin
Grateful Dead
by Grateful Dead
Source: (FOB) Nakamichi CM-300 (CP-1) x2 > Cassette Master (Sony TCD5M/Maxell XLII-S C-90); Recorded FOB from floor Section 3, Row Q, Seat 8
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; AKG451EB/CK1's (DIN/DFC/First 1/4 Of OTS/9 Feet High)> Whirlwind Phantoms>Teac DA-P20 @ 16/48 (Set 1) and Whirlwind Phantoms>Sony TC-D5M,Tape Denox MG-X (Set 2); Transfer Information Set 1:Sony R500>Tascam HD-P2 @ 16/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Transfer Information Set 2:Tascam 112 MKII>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Dithered/Flacked With Korg Aqua To 16/44 By Keo; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
Grateful Dead
by Grateful Dead
Source: First Generation Cassttes Unknown Mics/Deck,Unknown Original Transfer Info; Tapes From White,Transfer By Keo; Tapes:Maxell XLII 90,100; Transfer With Nakamichi MR-1>Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion/Flacked/Metadata Tagging With AudioGate Software To 24 Bit/96 kHz
Grateful Dead
by Grateful Dead
Source: Nak300>CP4>D5 no dolby; ots dfc mics @10ft pas; cass(m)>hhb830 16/44.1 cds in 2003; cd>audacity +2.5>cdwave splits>tlh flac8
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; Sennheiser MD421's (PAS/Section CTR, Row MM, Seat 15/6 Feet High)> Sony TC-D5M, Tapes Maxell MX; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Metadata Tagging With Tag&Rename By Keo
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Steve Hill, Transfer By Keo; 2 Beyer's Unknown Make > Sony TC-D5M; Tapes: Set 1 Maxell XLII 90, Set 2 Maxell XLII-S 90; Tapes Labelled: Master - 2 Beyer, T.D.; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion With AudioGate V.3.02 To 32/96 kHz Wave; Dithered/Flacked With Korg Aqua To 16/44; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; AKGC451EB/CK1's (DIN/DFC/Middle Of OTS/6 Feet High)> Whirlwind Phantoms>Sony TC-D5M, Tapes Maxell MX-S; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/28> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Metadata Tagging With Tag&Rename By Keo
Grateful Dead
by Grateful Dead
Source: AUD: 2x Beyer M-88's > Sony TC-D5M > Maxell MX-90s, set up at the end of the floor, fifteen rows up in the riser, taped by Joe Morrone.